Film Threat's Scores

  • Movies
For 2,426 reviews, this publication has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Sure Thing
Lowest review score: 0 The Groomsmen
Score distribution:
2426 movie reviews
  1. A courageous film, especially from a first-time director, and deserves all the audience support it can attract. It’s a People Story, and it’s About Something. However, it’s also something of a heavy sit.
  2. It feels strangely slight for Almodovar, but there's a richness that draws us in -- There's so much going on beneath the surface that you can hardly take it all in.
  3. Do not, under any circumstance, approach this film lightly. Prepare to be depressed, agitated and shocked. And prepare to see a brilliant work of cinematic art.
    • 86 Metascore
    • 90 Critic Score
    Imagination spills across the screen in a bold, undeniable presence.
  4. To me, Say Anything is without a shadow of a doubt the most rewarding, funny, and likable romance of the last twenty years. It heralds the decency of romantic love against the gears of a cold, grinding mechanical world.
  5. A perfectly serviceable action movie…better than most, in fact. The entire premise is growing creaky, however, leading us to think we might want to leave this particular spy out in the cold a while, before he becomes completely tiresome.
  6. At the risk of being called an anti-Semite, I would like to propose a moratorium on Holocaust movies -- While it would be crass to discount the importance of the subject, at the same time one has to admit there is some degree of excess going on here.
    • 85 Metascore
    • 80 Critic Score
    The interaction between Hoffman and Linney makes following their characters from their winter of hard experience to a spring of renewed hope well worth the while.
  7. This is a curious example of taking a hair-raising story and draining the drama from every corner, leaving it a bit flat and ultimately forgettable.
    • 85 Metascore
    • 90 Critic Score
    Believe the hype, Knocked Up is one of the funniest films of 2007. It's too early in the year to crown it the supreme funniest title, but save for something so funny your head explodes in the theater, I think it'll take the title by year's end. Seth Rogen, we web slackers salute you!
  8. This isn't to say The Departed is a bad movie, far from it, but knowing who's directing it and the amount of talent he had to work with, it's hard not to be disappointed that Scorsese didn't knock us on our asses. Is it his best movie since "Goodfellas?" Sure, but it falls shy of that film's excellence.
  9. Rich with wonderful music and images.
    • 85 Metascore
    • 90 Critic Score
    Technical elements are among the best this year. Photography, editing, music, production design, and costumes all add seamless period flavor to the puritanical stew that was London almost a half-century ago.
    • 85 Metascore
    • 80 Critic Score
    Fleck manages to mix the storylines which include drug abuse, political commentary and making good choices about your life's path flawlessly.
    • 85 Metascore
    • 90 Critic Score
    This is where Payne shines. Schmidt’s Winnebago journey through America’s heartland is more like a personal voyage into his Heart of Darkness.
    • 85 Metascore
    • 80 Critic Score
    Hero is not a CTHD clone; it’s a wonderful movie in its own right, staking its own territory as a dreamlike meditation on motivation and love.
    • 85 Metascore
    • 90 Critic Score
    This immaculate filmmaking creates an engaging documentary that makes you forget that you're missing the energy of a live show because it's a completely cinematic experience with its own special energy.
  10. One of the year's best films. It is an extraordinary triumph of nonfiction filmmaking, presenting a wild mind game that leaves the viewer invigorated by its sheer audacity and complexity.
    • 85 Metascore
    • 30 Critic Score
    Reflecting on Sokurov’s other recent work – like “Russian Arc” for example – The Sun is a giant step down. It’s an outrageously long-winded drama that’s awfully directed with the skill of a high school play.
  11. Simply a two-hour rave, an acidic, ecstatic trip through the not-too-distant past in a world called Manchester.
    • 85 Metascore
    • 40 Critic Score
    Imagine if the team that made "The English Patient" tried to make the same kind of movie, with even more brave-lads-fighting-the-Jerries porn and this time with Extra Added English country manor porn, and without really good actors, and this movie is what you’d have.
    • 85 Metascore
    • 100 Critic Score
    Joon-Ho's epic is a masterpiece of monster cinema that's intelligent, innovative, and reaches down to the basic core of family unity to propel its story beyond mere conventions of science fiction.
  12. Clooney has finally made a GOOD movie.
    • 85 Metascore
    • 70 Critic Score
    Had that window been opened just a bit more, Z Channel would be a remarkable film. As is, it's thoughtful and arresting.
  13. Two-and-a-half hours of family bickering, bantering, and pummeling can be draining for the viewer, particularly when many of the characters are easy to dislike.
    • 84 Metascore
    • 80 Critic Score
    A surprisingly fresh take on familiar material.
    • 84 Metascore
    • 70 Critic Score
    The problem with the film, despite the genius of craftmanship and cinematography, is that the film doesn't really have anything new to say.
  14. From the film's opening moments you won't be able to guess where the whole thing ultimately ends up and that's one of the many endearing qualities of Revanche.
  15. This is a very simple story, but it builds beautifully to an endearing and witty romance.
  16. Love is indeed the greatest mystery, as Lantana's tagline goes, and while the film is ultimately still and interesting and fairly involving one, it's a bit unfortunate that the filmmakers weren't content to simply explore that quandary instead of manufacturing another.

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